We offer suggestions for arts lovers to discover (and re-discover) established and emerging artists, musicians and performers in and around Delaware. Although we particularly like to celebrate smaller arts organizations and individuals, we cover nearly anything that strikes us or that we feel you should know about. Periodically, we welcome guest bloggers and artists to join us.

Saturday, December 3, 2016

"The Best of Times" Celebrated at City Theater Company

By Guest Blogger, Mike Logothetis

Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

La Cage aux Follles is a 1983 musical based on the 1973
French play of the same name by Jean Poiret. While we are firmly living in 2016, the book (Harvey Fierstein) coupled
with thelyrics and music (Jerry Herman)
and the spirited direction (City Theater Company's Producing Artistic Director Michael Gray) keep this production on the edge of
contemporary.Yes, it is a “period
piece” of sorts, but in this case, the “period” just sets the era and location
– not the themes, pace, dialog, emotion or zaniness of it all.

La Cage Aux Folles cast. Photo by Joe del Tufo/Moonloop Photography.

The show focuses on a gay couple: Georges, the manager of a
Saint-Tropez nightclub featuring drag entertainment, and Albin, his romantic
partner and star attraction. The story
begins in the titular nightclub with the audience as patrons. Georges (Paul McElwee) is emcee and host,
creating a rapport with those of us still finding our seats and settling in for
an evening of entertainment.

The chorus line known as Les Cagelles appear and introduce
themselves to the audience through the first number, We Are What We Are. This rousing song and dance number features
electric movement and snappy costume changes that will have you clapping
along. William Bryant, Zach DeBevac,
Andrew Dean Laino, and Christian Ryan all play drag queens with gusto, charm,
smiles and, dare I say, athleticism.

We retreat to an upstairs apartment to meet Albin (Patrick
O’Hara), who is the star performer at La Cage aux Folles under the stage name, “Zaza.” We glimpse the
central relationship between Georges and Albin through a sweet back-and-forth
dialog and the introspective song, [A Little More] Mascara.

Joy, despair and confusion ensue when Georges’ son
Jean-Michel (Zachary J. Chiero) delivers the news that he is engaged (to a
woman!). Georges is reluctant to approve
of Jean-Michel’s engagement, but Jean-Michel assures his father that he is in
love with Anne Dindon (Grace Tarves) through the tender With Anne on My Arm. Unfortunately, her father is head of the “Tradition,
Family and Morality Party,” whose stated goal is to close drag clubs and the
like.

Anne’s parents wish to meet their future in-laws, but Jean-Michel
has lied to his fiancée, describing Georges as a (straight) retired diplomat
and not mentioning Albin at all. Jean-Michel
convinces his father to partner in the lie and wants to include his
birth mother at the gathering. Attempts to break the news to Albin covers
two quieter songs (With You on My Arm and Song on the Sand), but before
Georges can deliver Jean-Michel’s wishes, Albin runs off to the stage.

Zaza electrifies the stage and the audience
performing La Cage aux Folles\, while Georges and Jean-Michel quickly
redecorate the house in a more modest style. While Albin is changing for his next number,
he notices the two and demands to know what is going on. Georges tells Albin of Jean-Michel’s
plan and, in an odd twist, Albin re-joins Les Cagelles onstage, then sending them off as he sings the defiant solo I Am What I Am to end Act I.

Even though the show is a modern farce, Les Cagelles act as
comic relief along with butler/maid Jacob (Adam Pierce Montgomery) and stage
manager Francis (Dylan Geringer). How
does comic relief work in a comedy? You have to see the show to fully understand that absurdity must be meted in portions, lest it become overbearing. Suffice to say, super-over-the-top Jacob
is a scene-stealer as both a servant and a club dancer.

The cabaret songs are all energetic numbers which exist to
entertain while the emotional music is downplayed to add gravitas and
investigation into the characters’ minds. The Joe Trainer-led “Birdcage Band” is excellent in both setting the
mood and reacting to the emotion brought forth by the actors on stage. The musicians are part of the set when the
audience is at La Cage aux Folles, but are cleverly hidden when the scene
demands deeper character interaction.
Vicki Neal and Richard A. Kendrick have created a simple, yet elegant
set that allows for up-close dynamic action as well as space between characters
to represent both emotional and physical distance. The stage lighting can convey a pulsing
nightclub or a quiet room and works well in the space of The Black Box.

Act II finds Georges apologizing to Albin (Song on the Sand
[Reprise]) and then suggesting that Albin should dress up as “Uncle Al” to be
a part of the family dinner. Albin reluctantly
agrees to act like a heterosexual for Jean-Michel, leading to some of the
funniest physical and lyrical humor in the show. With the help of Monsieur and Madame Renaud
(Greg Tigani and Mary Catherine Kelley), Georges successfully(?) teaches Albin
to abandon his flamboyancy (Masculinity).
Jean-Michel doesn’t like the idea, but Georges angrily reminds him what a good “mother” Albin has been to him (Look Over There).

Just as Anne’s parents (Tigani and Kelley in different
roles) arrive, the hosts receive a telegram that Jean-Michel’s mother won’t be
joining them (Dishes [Cocktail Counterpoint]). Hoping to save the day, Albin appears as
Jean-Michel’s mother. Nervous and
unreliable Jacob has burned the dinner, so a trip to an elite local restaurant,
owned by close friend Jacqueline (Kerry Kristine McElrone), is arranged without
explaining the situation to her.
Jacqueline theatrically asks Albin (as Zaza) for a song, to which he
hesitantly agrees (The Best of Times). Everyone in the restaurant begins to take part
in the song, causing Albin to yield to the frenzy of performance and tear off
his wig at the song’s climax, revealing his true identity.

Arguments, comedy, and confusion are unleashed, while Jean-Michel
begins to feel ashamed of the way he has treated Albin and asks his forgiveness
(Look Over There [Reprise]), which is lovingly granted. However, the Dindons vow to cancel the
wedding and prepare to depart, but their way is blocked by Jacqueline, who has
arrived with the press – ready to photograph the notorious anti-homosexual
activists with Zaza. Through a clever
plan and impeccable timing and luck, the Dindons escape with their reputation
intact and their daughter’s marriage to Jean-Michel validated. With everyone gone, Albin and Georges briefly
sing of their love for each other before sharing a kiss (Finale [With You On
My Arm/La Cage aux Folles/Song on the Sand/The Best Of Times]).

The show is a delight in script, music, pacing and topical
humor. The physical comedy and clever
wordplay will have audiences laughing heartily. Technically, this is a musical that needs to be tight – and it is. The effort put into set design, cast,
direction, music, lighting and production camaraderie are evident in the final
product. With over a 2-hour running
time, I just wish I had brought a cushion for my seat.

The production of La Cage aux Folles runs through December
17 in The Black Box on the Wilmington waterfront (4 South Poplar Street,
Wilmington, DE 19801). Tickets cost
$20-28, but the cabaret-style set includes a limited number of upgraded seats –
known as “Birdcage Seats.” These seats are situated on platforms on
either side of the theater, affording patrons a “bird's eye view” of all the
dazzling stage action, complimentary table snacks and complimentary drink tickets per person. Advance purchase of these seats
is advised. Cost of Birdcage Seats is
$40 per ticket (select “VIP” option at online purchase).

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Delaware Arts Info Contributors

Michelle Kramer-Fitzgerald, creator & manager. Originally from Pittsburgh and a die-hard Penn Stater, Michelle is the Owner of Arts in Media, a Delaware-based arts promotion firm, which launched this blog in June 2009. She enjoys and tries to support every genre of Arts. In her (rare) spare time, she loves to read, cook and occasionally, paint. She lives in Wilmington with her husband, Scott, puppy Eli and previously, Dewey the Art Dog.